VIOLIN

SIRENA HUANG
Dvořák: Concerto in A minor, Op. 53
 ABOUT THE ARTIST
Praised by The Baltimore Sun for her “impeccable technique…deeply expressive
phrasing…and poetic weight," Sirena Huang is one of her generation’s most celebrated
violinists. She is the Gold Medalist of the 11th Quadrennial International Violin Competition
of Indianapolis, and was also awarded eight of the eleven special prizes. In 2017, she was
awarded First Prize at the Elmar Oliveira International Violin Competition and later that
year, she was the winner of the New York Concert Artist Worldwide Debut Audition. In
2013, she was awarded the Hannloser Prize for Violin at the Verbier Music Festival in
Switzerland. She is also a top prize winner at Singapore International Violin Competition as
well as the Shanghai Isaac Stern International Violin Competition. Sirena made her solo
debut with the National Taiwan Symphony Orchestra in 2004 at the age of nine and has
performed in twenty countries across three continents. Motivated by a deep wish to inspire
peace and harmony with her music, Sirena has also performed before world leaders,
thinkers and humanitarians.

VIOLIN
 ABOUT THIS COURSE
Virtuoso violinist Sirena Huang shares a detailed guide to Dvorak Violin Concerto. Huang
takes on explaining the structure, atmosphere, and characters of this masterpiece. She
breaks down the technical difficulties and shares practice tips to overcome them.

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CONTENTS
movement 1 - pg. 4

movement 2 - pg. 16

movement 3 - pg. 24

If you have any corrections, comments, or critiques relating to this workbook,

please send them to ethan@tonebase.co. We strive to deliver the highest
quality enrichment experience. Thank you!
Move m e nt On e

Opening

The characters, texture, style, and patterns are all constantly changing in this movement – Dvorak’s

ideas tend not to last very long. The orchestra’s first statement is very grandiose and sets the stage

for a dramatic listening experience. The violin’s entrance on an offbeat somehow makes it more

intense; a downbeat entrance would be more resolute. You’re responding to the orchestra’s

downbeat to continue the music, but the long notes shouldn’t ever feel stale or frozen.

We join the winds in the pick-up to measure 7. Keep in mind that the winds have a slur across the

barline that we don’t have. The long phrase should last the entire octave from E to E. We hear the

motif G♯-E seven times in this opening, often across different octaves, and each time invokes a

greater sense of drama and build. Pace your crescendo so that the entire section gets more

exciting. These moving sixteenths are sometimes played like a cadenza, but Dvorak’s notated

rhythmic structure is quite specific, so Huang likes to play it clearly.

04
Intonation

The other difficulty in the opening is the intonation. When we hear repeated notes, we expect the
intonation to be consistent each time. Huang practices this by taking a note (say, G♯) and only
using bow when that note arrives. It’ll sound like several G♯s surrounded by a lot of silence; still,
continue to finger all the other notes. This focuses our ears on the consistency of that note’s
intonation over time. Next, repeat this with the note E. The last one you can try is B.

Notice your hand shape as you go, and make sure your fingers are equally balanced. Keep your
thumb around the area of your middle finger, even when shifting.

As you shift, think about each block that your fingers take. When you practice stretching to reach a
higher note, memorize the stretch. This passage requires a great deal of successful repetition! If you
only play it in tune once in a string of five repetitions, your brain won’t train for the in-tune version.
The more successful experiences you have, the better!

05
Se c o n d s t a t e m e n t

The second statement has a warmer and more hopeful sound and character. There’s also harmonic

movement underneath you this time, so we should react to this by softening our sound. We want to

use a slower bow for the descending phrase in the following measures. The C♮ in the fourth bar is

darker – use less bow and more weight on this note.

Just like before, the notes C-A repeat seven times. Make sure you’re not saying it the same way

every time. Huang uses different fingerings:

Huang uses two bows for the high A in m. 28 for added volume.

Our next entrance (m. 55) is powerful and dramatic. How can we give it a bite? Think about playing

with a contact point very close to the bridge. Pull your pinky inward toward yourself just slightly so

it has a strong attack.

06
Playing the first note of this section for its full duration creates a lot of wanted tension in the sound.
Lean into the chord in the fourth bar – it helps give this section a dance-like style. Roll the chord like
an improvisation.

Play with flat hair here to be closer to the bridge and get more of a bite. Don’t make too much of a
motion to get here; sit your right hand backward.

The bow does the work to create a bite – we shouldn’t be working too hard for every note. The left
hand also helps us by almost plucking each note (not quite pizzicato).

We don’t want everything to feel heavy – how do we create lift? The chord in the sixth bar is a
great opportunity for this. The bowing below makes Huang feel like she’s jumping into the air and
landing again for the next sentence:

Practice the two-bar transition (decrescendo to piano in mm. 76-78) without the grace notes to get
a sense for the phrasing. The quarter-note triplets should be in the sound world of the following
section.

07
Backing up slightly, at letter B, where the orchestra plays a tutti during your measure of rest, wait a

split second before entering so the orchestra’s chord has a chance to resonate.

These accents starting in m. 95 are not pointed; we add some vibrato to them for a pleading effect.

The triplets that immediately follow are quite unsettled (the triplets are phrased in groups of 5). The

beat can be hard to identify – you have to feel both rhythms happening at the same time.

08
While the orchestra plays downbeats (m. 101, pictured above), we sustain over a few of the
downbeats in this measure, creating a lot of syncopation and excitement.

It may feel nice to play letter C on the louder side, but Huang plays more inward here – the
orchestra’s texture is light. The real forte comes six bars later, anyway.

Look for a darker color right at C; Huang likes to add diminuendos as the G♯-E motive repeats to
contrast what she does at the very beginning. Both of these are matters of personal taste, but
these tips do help the crescendo into forte have a lot of impact.

09
At m. 112, the orchestral accompaniment returns, but the counter-melody is augmented – the note
values are doubled, elongating the dissonance.

Huang responds by drawing out the phrase, playing a crescendo into the second bar. Instead of
allowing the phrase to continue, Dvorak throws us straight into a rhythmic sforzando passage.
Show the contrast in the dynamics as lightness and heaviness, but take the fortissimo at m. 128
with a grain of salt – it’s perhaps a bit early to play a true fortissimo. The fortissimo is more about
energy. Huang uses a very snappy articulation to get this effect, re-articulating the second triplet
despite the slurs. When playing in the higher register, try to use a wide region of the bow so the
sound rings out more.

10
Next comes a very improvisatory passage without a clear key center. There’s no clear direction –
the ascending near-chromatic scale can almost continue going indefinitely, but Dvorak happens to
stop at G and build a melody there. In fact, the repeated Gs in m. 147 can almost feel stream-of-
consciousness; each time, you’re thinking, “I guess I’ll play the note one more time.”

There’s a lot of lilt in this dance-like melody. Vary your bow speed to bring out this effect; the long
notes have a slow bow, and the eighth notes have a faster bow.

The carrot accents during the following ascent are not heavily articulated; “it’s like you’re dancing
and bending your knee a little bit.” The syncopation creates some resistance to the beat as if
Dvorak is writing out a ritardando.

We’ve built up this far, but our character has to change quite quickly. This dotted motif appears in
several different ways, including at letter E. Where scherzando is marked, use a lot of fast bow.

11
Huang plays bars 181 and 182 with the tip of the bow and switches to the frog for the next pattern
(183). Despite the notes being dotted, Huang plays everything on the string for better projection
and impact.

These carrot marks make the chords very dark, pointed, and pesante. Lift the bow significantly off
the string to get the same articulation on the down-bow and up-bow. Use the entire arm for a good
sound, not just the wrist.

We can emphasize the interesting notes here to avoid sounding like an etude. The C♯ is one
example (bar 200). Huang uses separate bows on each note in m. 202 for excitement to ensure
everything is audible – she uses two notes per bow in the following measures. The E♮ in m. 208 is
like ascending the peak of a mountain – you can see a brighter destination in the distance! Play this
repeated E at the tip of the bow for a resonant sound.

12
For the runs on the following lines, emphasize the bottom notes to make it easier for the orchestra

to play in time with you, in addition to the big beats. Huang doesn’t think a ritardando before the

high E at letter G is necessary. The true arrival point is in the orchestra at the tutti in the next bar:

Instead, Huang gives a bit of an emphasis to the high E to give the orchestra a head start on the

way to their climax. “My job is to let them take over; it’s not my spotlight moment.”

13
The next entrance at m. 224 is our first grandioso marking. Use the whole bow and as much

natural weight as possible for a big sound. The grace notes serve to emphasize the main note they

are attached to – the grace note to the A in m. 227 is like throwing something up in the air and

waiting for it to land. Hold the longer notes for their full value and play the triplets very evenly.

Huang articulates every note in the triplets for added energy when performing.

As the passage continues, we have to make our rhythms sound very intentional. The orchestra

plays on downbeats, so if we aren’t careful, our offbeats can sound like mistakes.

Huang is clearly articulating every triplet here at the next fortissimo (m. 231). While the music is

heavy, there’s still a dance happening – the music is always moving toward the big beats. The

sixteenths that follow should be extremely precise.

At the end of this section, note that Dvorak turns sixteenths into triplets – he’s writing out the

ritardando for us, so we don’t need to take much more.

The theme returns again in Poco meno mosso, and Huang opts for a pure sound. The horn is

playing a duet with you here:

14
The final run of the movement is less strictly written; Dvorak writes groups of seven with a
diminuendo, so Huang plays a bit freer.

Quasi Moderato is a short bridge that connects the movements. Your role is that of the counter-
melody under the flute, a unique texture requiring us to provide a rich, substantial sound.

15
M o v e m e n t Tw o

FEELING THE PULSE

One of the challenges in starting the second movement is choosing a tempo. Huang explains that

the movement might feel heavy since there are many eighth notes throughout several bars, making

it challenging to maintain a flowing tempo. The movement's meter is 3/8, creating a dance feel.

Huang practices choosing the tempo by playing and walking at the same time. Walking while

playing helps her feel the dance-like movement and creates a comfortable tempo in her playing.

She ensures the tempo is not too slow, so she stays balanced between the beats. Walking also

helps Huang feel the pulse without accenting the downbeat of every beat. 

She follows the natural passing of a dance, where the arrival beats are slightly heavier. Huang

points it out by sinking in with her body and weight on arrival points, such as the downbeat of

measure 3. Choosing heavier and lighter parts is crucial in creating the shape of a melody. Huang

points out that while walking, one can feel that beats two and three have a natural direction

toward one (the downbeat ). Huang applies this idea to the melody line in bars 8 – 12. It is risky to

treat every note as equally important and make the movement sound too vertical. Huang suggests

grouping the section across the bar line so that the phrase becomes longer. Walking helps

anticipate the long phases and understand the natural flow of the music.

16
Huang likes to emphasize the downbeat of measure 13 (D♭). When Huang wants to create a
singing quality to a note, she prefers taking the violin up against the bow instead of adding more
weight. Without pressing, she can get the natural resistance between the violin and the bow.
Another benefit to taking the violin up is freeing the left shoulder and breathing with the music.

SMOOTH BOW CHANGES

Groupings and phrasing of the repeating eighth notes help with smooth bow changes. Huang
points out that thinking about the natural flow of the melody, regardless of bow changes, helps
direct the right hand to create a smooth sound without breaking the natural musical line. She
discusses the melodic line starting at measure 22.

The string crossing between the A-string and the E-string (between measures 22 – 23) should be
smooth to create one long phrase. To do so, Huang demonstrates grouping the six notes in
measure 22 into groups of one note, three notes, and two notes (she connects the last two notes to
the first note in measure 23). This connection helps create a smooth line independently of bow
changes.

Huang explains that bow changes are frequently not smooth because violinists tend to phrase
according to bowings. She encourages thinking beyond the restrictions of the bow and playing the
melodic line the way one would sing it.

17
EMBELLISHMENTS

The faster notes in the movement should have color, life, and a clear line. Huang uses musical
shapes when determining the direction and highlight of a line. She suggests using vibrato to add a
singing quality to fast passages. 

When discussing measure 29, she recommends adding vibrato on the high A.

Here, Huang prefers taking time instead of playing precisely in tempo. Dvorak marks a hairpin in
that measure, which should be natural to execute when following the outline of the notes. 

Huang highlights the importance of left-hand articulation. While the right hand plays a down-bow
legato, the left hand is incredibly active. The embellishments should be treated as melody simply in
a faster tempo. The embellishments (sixty-fourth notes) connect between the downbeats of
measures 31 and 32. The specific way one connects the two arrivals is what creates the musical
environment.

18
C H A R AC T E R A N D P R O J E C T I O N

The dance-like character is back in measure 34. It is essential to feel the impulse starting on the

first beat and the direction in beats 2 and 3. 

In measure 41, the solo violin enters surprisingly and interrupts the calm orchestra melody.

Projecting the solo violin part is challenging. Huang explains that since the solo violin register is not

ideal for projection in this section, and the orchestra register is quite similar, she likes adding

accents between bow changes and re-articulating beats 1 and 2 in measure 42.

Huang recommends playing two down-bows in measure 43 to project the beginning of the last

octaves. Measure 45 starts powerfully. Huang suggests a color change in measure 48. 

Measure 52 brings the music back to the feeling of a dance. Measure 56 leads the music to the

passionate and urgent character in measure 57 – the Piu mosso.

19
In measure 59, Huang prefers playing down-bow on the first beat and up-bow on the second. She
changes the bowing from measure 43 since the register is higher, easier to project, and has variety. 

In measure 61, the structure is similar to measure 45. The character changes in measure 64. 

The horns create a feeling of suspense in measure 68, and the violin revolves it with the beautiful
melody in measure 69. Huang likes playing the melodic line as floating above the orchestra.

Huang imagines the high notes in this section as bells. She recommends creating a pure sound in a
calm, bright, and sweet way. She brings out the high notes to add sweetness to the orchestra's
melodic line.

20
HARMONY AND ATMOSPHERE

The harmony starts changing in measure 73. Huang points out that the intonation in this section is
tricky since the solo violin plays the same part as the woodwinds.

She shares a practice tip for intonation in the section. She advises thinking about the distance of
the shift while shifting. In this case, the distance between C and E is a major third. Huang measures
the distance by playing C to D and D to E. She continues to analyze the exact length of the shifts in
the rest of the phrase.

Measure 79 marks the beginning of a new section. The orchestra plays long notes, and there is little
movement. Huang describes it as a prayer, which reminds her of a melody in the second movement
of Beethoven's Violin Concerto.

Huang likes playing the part serenely and calmly. It does not stay serene for long, and the harmony
changes the atmosphere in measure 84. In measures 85 – 88, the solo violin embellishes the theme
in the orchestra's parts.

21
CONNECTION WITH ORCHESTRA

The trumpet's part in measure 111 (pictured above) creates a majestic atmosphere while
maintaining a dance-like feel. The first violin section plays the main melody when the solo violin
comes in. Huang explains that the solo violin's role in this section is to embellish the main melody.

She finds it tricky to maintain a lively energy in this section since the triplets' rhythm creates an
illusion of a slower tempo, so she recommends thinking about the trumpet's rhythm. The trumpets
play sixty-fourth notes, which creates a feeling of 3 against 4. Huang shows how the connection
between the violin and the trumpet helps gain motion by feeling the notes between the violin
triplets. Moreover, it lets the violinist consider the longer phrase and connect the notes. In measure
128, the theme appears in the solo violin part.

22
Huang points out that this section is one of the few places in the concerto that Dvorak marks as
espressivo. The string section plays lushes scales that go up and down, which Huang describes as
waves. Huang suggests using a wide, generous vibrato to match the strings' sound.

THE CODA

Huang describes the coda as a farewell, waving while moving further and further away from the
scene. At the same time, Huang explains that the section is technically challenging. The solo violin
embellishes the theme in the horn part, so the intonation between the instruments must match. 

The trickiest part of the coda starts in measure 180. Huang emphasizes the importance of finger
independence. On the A-string in measure 181, the left-hand fingers 1 – 3 should stay steady on
the string while the pinky stretches to reach the C. Finger independence is required again when
stretching the first finger back on the D-string in measure 182 while keeping the second finger in
place. Huang encourages practicing finger independence to maintain a solid pitch in the exposed
section.

23
M o v e m e nt T h re e

2 -AGAI N ST- 3 R HY T H M

Huang describes the third movement as an exciting, folk-like, spirited movement. She points out

that the 2-against-3 rhythmic structure is common in Dvorak music, particularly in this movement.

Huang demonstrates this rhythmic structure in Dvorak's 6th symphony Scherzo and at the

beginning of the concerto's third movement. She explains that the beginning of the movement

sounds in 2 for the first eight measures and turns to 3 in the ninth measure. The rhythmic structure

frequently appears throughout the movement, and Huang encourages highlighting it for the

audience to recognize.

T H E F I RST T H E M E

Huang likes playing the opening higher in the bow to create a lighter sound. The movement

beginning is marked as piano, with the first violin section. Huang recommends slightly turning to

the first violin section to get good contact with them and start together.

24
The main theme returns multiple times in the movement, and Huang discusses the different

textures and sound world that Dvorak creates every time the theme returns. She demonstrates how

the orchestra part affects the character of the theme, played by the solo violin. At times, it is

lighthearted and, at times, celebratory. When the solo violin plays the theme in the lower register

(on the G-string), it has a deep sound, which adds to creating a wide range of characters. Huang

points out that while the solo violin plays the theme in the lower register, the first violin section

plays a beautiful melody that only appears once in the movement. 

Huang thinks about the theme in two-bar phrases:

She explains that thinking in two-measure phrases helps organize the phrase and avoid over-

accenting. She explains that the written accents suggest structure since they appear every two

bars.

Huang demonstrates how to cue the upbeat for the orchestra at the very beginning. After the first

cue, she explains that eye contact with the concertmaster is beneficial for playing together,

although it might take a few times to lock in together. In the next entrance (measure 35), Huang

likes rolling the chord briefly before the downbeat. Since the first entry is a single note, she

emphasizes the chord to show variety.

25
ARTICULATION AND RHYTHM

In measure 54, Huang highlights the rhythmic structure, which is again in 3.

Huang recommends using left-hand articulation to enunciate the grace notes in measure 57, as it
helps with projection in the concert hall. She advises using a slight left-hand pizzicato to make clear
articulation.

Huang thinks of measures 62 – 67 as one gesture and prefers using her 3rd finger on the downbeat
of measure 67 to get a brilliant vibrato. 

At the end of the next tutti, the first violins play a dance-like melody. Huang suggests playing
lighter, in the upper part of the bow, when the solo violin comes in measure 119. By slightly
nudging, Huang emphasizes the beginning of each measure while playing the sixteenth notes. She
does so to ensure she plays together with the woodwinds. Huang explains that since the
woodwinds are located far in the back of the orchestra, it is important to articulate well to
synchronize with them.

26
The rhythmic structure of 2 against 3 returns in measure 151. The first two measures are in 3, while
the third and fourth measures are in 2. Huang recommends emphasizing the first beat in the 3
structure, which Dvorak marks as Sforzando, to help simplify the rhythm. Huang likes articulating
the second note in the 3 structure for projection purposes.

LEFT-HAND POSITION

Huang prioritizes the pinky when stretching her left hand. In measure 153, she positions her thumb
in the second position so the pinky is in a comfortable spot, and then she stretches back her first
finger. She uses the same technique when arriving at measure 157.

DOLCE CHARACTER

Huang points out that measure 190 is the first time Dvorak marks as dolce in the movement. She
describes the character as sweet and flirtatious. The accented eighth notes in measure 197 add a
folk-like character to the music. Huang explains that the accents help create a lighthearted
atmosphere in the next melody due to the difference in character. Huang lets her right arm sink in
when playing up-bow to create an accent. She prefers playing the accent on an up-bow to create a
feeling of a lift. 

There are slight embellishments as the melody continues. Huang explores the grouping of the slurs.
The slurs help organize the phrases' structure and add character and definition to the melody.

27
RHYTHMIC CONFLICT WITH THE ORCHESTRA

Huang views measures 227 – 238 as an argument with the orchestra. She explains that the
orchestra emphasizes the third beat while the solo violin emphasizes the second. The conflict
between the orchestra and the soloist creates excitement. 

To create the accent on the second beat, Huang suggests placing the bow closer to the fingerboard
and changing the angle of the bow to gain more core in the sound. 

To project well and a concert hall, Huang prefers separating the slurs in measures 243 – 246, which
adds articulation and definition to the sixteenth notes.

L’ISTESSO TEMPO

The horn solo before the L'istesso tempo section creates suspense. Huang advises listening to the
horn tempo and character to set the tempo for measure 363. 

Huang finds it important to pay attention to the sixteenth notes while playing the melody. She
explains that the sixteenth notes add character and flow. She recommends articulating them for
projection in a concert hall.

28
Huang likes playing the repetition of the theme more reflectively. To do so, she plays the repetition
(measures 367 – 370) on the D string.

Huang points out that Dvorak continues with a variation on the melody. The section reminds her of
the second movement of Mendelssohn's violin concerto, which also contains a slow trill in the lower
voice.

Huang experiments with finding a special sound in measure 379, where there is a key change.
When the melody repeats in measure 381, Huang adds slides to make the melody sweeter.

The solo violin and the cello section engage in an exciting dialog in measure 394. Huang
emphasizes the first accent in measure 401 as an answer to the cello line.

29
PRACTICING GROUPINGS AND CHORDS

Huang explained how to practice the technically challenging section starting in measure 413. She
analyzes where the brain should stay calm to save energy and where the soloist should be
renegade to full focus. She recommends thinking about the length of the shifts in the double stops.
The shift length (intervals) is different between 413 and 415. Huang recommends using the first
finger (D♭) as a guide finger for the first shift in measure 415. She likes releasing her head during
the repeated notes to relax her neck and prepare for the shifts.

In measures 411 – 416, Huang breaks the chords downward or upward depending on the melody's
register. When the melody is in the bass line, she plays the chords from the higher string to the
lower, and when the melody is in the top line, she rolls the chord from the lower string to the
higher. 

Huang analyzes the following phrase (starting in measure 417) and simplifies the technical
difficulty by grouping the phrase into shorter sections. She groups measure 417 and the first 5
sixteenth notes of measure 418 together, then moves to the next group while concentrating on
shifting into a new position. Huang highlights the importance of thumb position when shifting
down because when stretching the left-hand fingers and placing fingers on all four strings, the
thumb helps keep balanced and supported fingers. She recommends placing the thumb in the
middle of the position.

30
PROJECTION AND ARTICULATION

Huang likes bringing out the third, fourth, and fifth sixteenth notes in measures 424 – 426. She
explains that while the orchestra is playing the other notes, these are played only by the solo violin. 

In measures 429 – 430, Huang uses flat bow hair to create articulation in the frog. The orchestra
gets loud in this part, and Huang explains that it is normal and common not to be able to project as
much. 

In measure 433, Huang articulates the arrival on the trill to show the beginning of a new section. In
the trill section, it is important to articulate the beginning of the note. Huang explains that since the
orchestra comes in after the beginning, the energy at the beginning helps the audience hear the
solo violin part. She creates a sforzando to emphasize the downbeat.

THEME AND RECAPITULATION

The theme returns on the G-string in measure 442 while the first violin section plates a unique
counter melody. Playing together at a comfortable tempo can be tricky with the orchestra.

31
Huang's tactic is listening to the timpani's part. Huang aligns the third beat with the timpani part.

The theme is repeated in fortissimo on the E-string while the first violin section plays an exciting
scales passage. Huang recommends using a full bow to get as much resonance and brightness as
possible to contrast with the dark sound during the G-string theme. 

Huang plays the recapitulation with humor to match Dvorak's subtle changes in rhythm and
articulation. Measure 543 is an example of that change.

SHIFTS

Huang examines the challenging section starting in measure 660. She recommends analyzing the
length of every shift between each octave. Huang highlights the importance of lifting the left-hand
pinky fast enough to create articulation. She recommends keeping the thumb reasonably high up to
support the pinky and relax the first finger.

32
SYNCHRONIZING WITH THE ORCHESTRA

Huang explains that measures 680 – 689 are notorious for being difficult to synchronize with the
orchestra. The orchestra plays in contrast to where the soloist feels the beat. Huang suggests
getting used to the orchestra part by listening to recordings and practicing emphasizing the beats
where the orchestra plays. She advises concentrating on lining up the first two notes that the
orchestra plays to synchronize the rest of the section.

BOW STROKE

Starting in measure 690, Huang recommends playing soft and light to hear the delicate flute solo.
She suggests bouncing the bow in the upper half and placing it closer to the fingerboard. When
there is a key change, Huang adds slightly more bow to show the important notes to the harmony
change and to maintain a melodic line.

THE CODA

The last L'istesso tempo (measure 733) marks the beginning of the coda. Huang describes it as
celebratory and exciting.

33
In the octaves section, starting in measure 743, Huang uses the fingerings 1/3 octaves when
playing on the A-string and E-string. She switches 1/4 when shifting to the D-string and A-string. 

Huang recommends analyzing the interval of every shift and keeping a stable shape of the left-
hand fingers.

Huang emphasizes the harmonically important notes in the passage by adding vibrato to bring it
out and create a musical shape to the technically challenging part.

The rhythmic structure of the coda is 2 against 3. Huang demonstrated measures 767 – 774 (in 3)
and the instant structure change in 775. She points out the written accents that help outline the
rhythm.

Huang shares her tip for fingerings in measure 773. She plays an open string on the high E and
uses it to release her hand and shift in time. Huang explains that the open string sounds like a
harmonic with enough bow speed. In addition, she shares a second choice of fingerings (moving to
the A-string to play the C♯). Huang prefers the first option for maintaining a bright color and clear
projection.

34
THE FINAL RUN

Huang explains how to articulate and project the final run in measures 781 – 782. 

She recommends placing and accenting the high D in measure 781 and separate bowings at the
beginning of measure 782. The chord in 783 sounds like a resolution. 

The very end has a 2 against 3 rhythmic structure. For the last note of the solo violin part, Huang
recommends placing the left-hand fingers before moving the bow.

Huang enjoys ending together and playing the last chords with the orchestra.

35